The competition must have been stiff !
Great job !
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Hi Guys
Isometric - “of or having equal dimensions without change of shape or size”
Lots of real synthesisers as well as VIs and VENOM on drums !
https://soundcloud.com/user-292096597/isometric
As always, feedback and constructive criticism is very welcome and appreciated.
Lee
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Thanks! And no the competition was one sided and…not my side 
. Maybe i misread the room but all the entries were more house/beats/sound design-ish. 
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Hello! I joined the forum ages ago but never really managed to post much (or even lurk to be honest). However, I have been producing some music in that time, and at long last I’m getting round to sharing something I’ve done… Here is a track from a recent album; which also happens to be my first foray into recording live violin. Hope you enjoy it: Decline of Empire | Oberton
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Thank you for your very kind words, Michael. I feel, however, that I should point out that very many people have experienced more stress than I in such situations. My grandfathers served in the Great War/W. W. 1. and even I’m not old enough to have been alive for that! I did attend remembrance Sunday with them and their fellow veterans on many occasions; that was an education in itself. My father had the good sense to leave the army (after the ‘forgotten war’ in Korea) before starting a family, so I didn’t go through army family stresses with him either, thankfully. My uncles were air force and navy flyers, a concern for sure but not the same as facing the enemy on the battlefield. My family’s only wartime losses came in W. W. 2 when we lost most of the European branches of my mother’s family because those in charge in Europe at the time didn’t like the fact that we are, through no fault of our own, descended from the original Israelites. Go figure! But enough of my family history, back to the music! Thanks again for the kind words and the wonderful music, mate. Looking forward to your next piece. 
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A really moving track. Could be a soundtrack for most of our daily news broadcast items these days…. 
. Well done 
Thank you very much for your kind words. I really appreciate it!
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I was hired by Val Gardena a year ago to create an ‘interesting” cover of Joni Mitchell’s Both Sides now. This is the result of that adventure. It features vocals by McKinley.
I hope you enjoy!
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Well done Leigh. You have put a great deal of effort into the amazing sounds of Night Bells. I’m not too sure if this is your first sample library, but if it is, you may have just found your musical calling.
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That’s amazing, Bob. I know it’s not, but I’m thinking Pete Erskine on drums (maybe Vinnie C.), Wayne Shorter (or maybe Mike Brecker) on sop. sax, her (ex) ‘old man’ Larry Klein on bass and yet you created it! I don’t know what to say except thank you so much for sharing. 
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I’ve just realized it’s Val Gardena, so is that Christopher James and Jeff Leonard playing on that or is it all VST? Still sounds amazing whoever it is. Thanks again.
I recorded a live quartet, Piano - Greg Goebel, Bass - Jeff Leonard, Drums - Reinhardt Melz and Sax - John Nastos. Chris had directed me to create an ambient first verse and then orchestrate around the quartet performance. One of the interesting challenges was to create a tempo map for the quartet that made “future” musical sense. I had, at one point, finished a virtual demo track so the musicians would have a good idea what they were getting into. It was a challenge, but an absolute blast to get this track down. There ended up being some great musicians on the album, but not on this track. J3PO on keys for several songs, Andy Snitzer on woodwinds, Taylor Eigsti and Alain Mallet. on eve more keyboards… a fun time had by all~
Wow! Thanks for the insight, Bob. You sure had some players on that project, can see how that would be such fun. I know you’re a busy man but, if you get the opportunity, could you enlarge a bit on the idea of creating a tempo map that made ‘future’ musical sense? I’m just an amateur who writes music for fun after retiring from my ‘day job’, I gave up on my musical career (jazz drummer) in the early 80’s, and that concept of a tempo map for such music is the sort of thing I need to further my musical education. Thanks again for sharing that wonderful project.
First of all, thanks for the kind words!
Tempo maps… When I think of how an orchestra works, it’s very rare that a tempo stays in one place. The goal is to follow wherever the conductor chooses to go with the tempo. In creating the map for Both Sides Now, Chris and I slaved over where tempos should land before presenting it to the quartet. This was originally intended to be an instrumental featuring the sax. As it evolved, we couldn’t do it without the lyric and that’s when tempos when out the window. The first verse was created by having McKinley sing to a drone with no click. It was then chopped up phrase by phrase to fit the pacing that Chris was looking for. After that, the real synthesis and bass parts happened in the intro. Meanwhile, we were in the studio recording the quartet which is basically a live take that you are hearing on the recording. Some synthesis and additional noises were added after the fact. Most of the synth work was in place, so we were able to play that through the phones for the quartet. But, because, we knew how the song was to flow with the quartet we were able to put a click track together ahead of time. I would guess that there were at least ten different tempo maps with a virtual quartet mock-up before we settled on the final tempo. That was the most difficult part of getting the song recorded! The session was a piece of cake! I recall us only doing two takes and we settled on the second with a couple of punches on bass. Vocals were quick and easy! The toughest part for McKinley was keeping track of the odd timing of the phrases but it got across exactly the emotion that Chris was looking for.
So that’s kinda the long story and summing up, the click moves around on a lot of projects that I work on. It’s all so the performance feels more “musical”.
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Thanks for that Bob, that’s a nice clear explanation. Decades ago I was a drummer, so I’m familiar with the idea of ‘pushing and pulling’ the tempo at various points to get the piece to breathe. This sounds like a more sophisticated approach to that basic idea that doesn’t rely on the drummer’s in-built ‘click’ and is made possible by the digital recording techniques that have come in since I was last in a studio (1983!).
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wrong post here obviously. admin please erase.
Hi folks I only used Crow Hill plugins for this track. I hope you enjoy it.
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Nicely crafted Michael! The descriptiveness of the piece is excellent.
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Sounds great! Draws you in and keeps you interested throughout too. Lovely use of the instruments👍
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Thanks for posting that, Michael. That’s a really engaging piece with a really nice arc to it. Sounds great.
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